Music 334: Music Theory III

Fall Semester 2017

Section A: MWF 8:00

Section B: MWF 9:00
Room 24, Music Hall

Dr. Kris Bryden Office hours: 10-11:30 MWF, 3:10–4 T

Office: 249 Music Hall
Email: kabryden@iastate.edu
Phone: 294-3971

Course Prerequisites: Music 234 (231)

Required Textbooks: Textbook and workbook for Stefan Kostka, Dorothy Payne, and Byron Almén;
Tonal Harmony With an Introduction to Twentieth-Century Music, 7th ed.;  McGraw-Hill; 2013.

Course Description: 3 credits. “Prereq: Music 234; concurrent enrollment in 335 recommended.
Harmonic and melodic materials of tonal music with an emphasis on chromatic harmony. Application of
these materials in analysis and writing. Techniques of melodic construction, formal design, and
harmonization. (ISU Catalog)

We will cover chapters 16–25 of the textbook, covering approximately one chapter per week.
Assignments and in-class work will give you the opportunity to apply new concepts and practice
analysis techniques presented in the textbook and in class. Quizzes, three exams, a composition project,
and an analysis paper will also measure your progress in the course.

Grading procedures:

Grading scale:
A 93-100 B- 80-82 D+ 68-69
A- 90-92 C+ 78-79 D 63-67
B+ 88-89 C 73-77 D- 60-62
B 83-87 C- 70-72 F 59 or below

Grading distribution:
Take home Exams 21% (Three exams—7% each)
Quizzes 30% (five quizzes––6% each)
Homework 20%
Analysis Project 15%
Composition Project 4%
Attendance 10%
Attendance Policy: Class participation is an important aspect of this course; therefore, regular on-time
attendance is required. Excused absences include illness, family emergencies, or documented university
related activities such as a tour or field trip. Please notify me of any upcoming absences when you
become aware of them. If you become ill or have a family emergency, please notify me as soon as you
are able via email.

Students with Disabilities: If you have a documented disability and anticipate needing
accommodations in this course, please make arrangements to meet with me soon. Please request that a
Student Disability Resource staff send a SAAR form verifying your disability and specifying the
accommodation you will need.
http://www.dso.iastate.edu/dr/student

Academic Integrity:
The class will follow Iowa State University’s policy on academic dishonesty. Anyone suspected of
academic dishonesty will be reported to the Dean of Students Office.
http://www.dso.iastate.edu/ja/academic/misconduct.html
Dead Week

This class follows the Iowa State University Dead Week policy as noted in section 10.6.4 of the Faculty
Handbook: http://www.provost.iastate.edu/resources/faculty-handbook

Harassment and Discrimination


Iowa State University strives to maintain our campus as a place of work and study for faculty, staff, and
students that is free of all forms of prohibited discrimination and harassment based upon race, ethnicity,
sex (including sexual assault), pregnancy, color, religion, national origin, physical or mental disability,
age, marital status, sexual orientation, gender identity, genetic information, or status as a U.S. veteran.
Any student who has concerns about such behavior should contact his/her instructor, Student Assistance
at 515-294-1020 or email dso-sas@iastate.edu, or the Office of Equal Opportunity and Compliance at
515-294-7612.

Religious Accommodation

If an academic or work requirement conflicts with your religious practices and/or observances, you may
request reasonable accommodations. Your request must be in writing, and your instructor or supervisor
will review the request.  You or your instructor may also seek assistance from the Dean of Students
Office or the Office of Equal Opportunity and Compliance.

Contact Information

If you are experiencing, or have experienced, a problem with any of the above issues, email
academicissues@iastate.edu.

Final note: If a situation comes up that requires you to miss class, please see me, so I can give you your
assignments, return homework, answer questions, etc. It is your responsibility to make arrangements to
see me, either by visiting me during office hours or by making an appointment.

This course moves at a rapid pace and may be difficult for some. I encourage you to take advantage of
office hours as soon as you have any difficulties with the class material. If you can’t meet me during
office hours, you can always make an appointment by emailing me or talking to me after class.
 Course Schedule:

21 AUG Diagnostic test 16 Ch. 20 Larger forms, phrase

structure review
23 Course Introduction
Review as needed 18 Ch. 20 cont.
Exam 2 due
25 Review as needed
20 Ch. 20 cont.
28 Ch. 16 Secondary Functions 1
23 Ch. 21 Mode Mixture and the
30 Ch. 16 cont. Neapolitan
1 SEPT Ch. 16 cont. 25 Ch. 21 cont.
4 Labor Day No class 27 Ch. 21 cont.
6 Ch. 16 cont. 30 Ch. 22 Augmented Sixth Chords
8 Ch. 16 cont. 1 NOV Ch. 22 cont.
11 Quiz 1 3 Ch. 22 cont.
13 Ch. 17 Secondary Functions 2 6 Quiz 4
15 Ch. 17 cont. 8 Ch. 23 Enharmonic Spellings and
18 Ch. 17 cont. Enharmonic Modulations
Assign Exam 3
20 Ch. 17 cont.
Assign Exam 1 10 Ch. 23 cont

22 Quiz 2 13 Ch. 23 cont.

25 Macro Analysis 15 Ch. 23 cont.

Assign analysis project Exam 3 due

27 Ch. 18 Modulations Using Diatonic 17 Project help

Common Chords 20-24 THANKSGIVING BREAK
Exam 1 due
27 Ch. 24 Further Elements of the
29 Ch. 18 cont. Harmonic Vocabulary
2 OCT Ch. 18 cont. 29 Ch. 24 cont.
4 Ch. 18 cont. 1 DEC Ch. 24 cont.
6 Ch. 19 Some Other Modulatory 4 Quiz 5
Techniques
6 Ch. 25 Tonal Harmony in the Late
9 Ch. 19 cont. Nineteenth Century
11 Ch. 19 cont. 8 Ch. 25 cont.
Assign Exam 2 Analysis project due
13 Quiz 3 11-15 FINALS WEEK (no final)


This schedule is subject to change.

Learning Outcomes

After completing Music 334, Music Theory III, students will be able to
• Recognize elements of chromatic harmony including secondary dominants and secondary leading tone
chords, borrowed chords, Neapolitan sixth chords, Italian sixth chords, altered dominants, extended triads,
common-tone diminished seventh chords, and chromatic mediants.
• Use the elements of chromatic harmony with proper voice leading in a four-voice setting.
• Identify and illustrate in a four-voice setting several types of diatonic and enharmonic modulatory techniques.
• Identify and diagram musical structures ranging from individual phrases to large forms including binary and
ternary forms, sonata form, and rondo form.
• Rewrite enharmonically spelled chords to reveal how they function in their musical context.
• Compose a well written paper incorporating their observations of the harmonic progressions and other
pertinent musical information in a piece or movement from the chamber music repertoire up to around 1890.